George III antique Pot Cupboard, Victorian walnut and inlaid bow-front Whatnot, Edwardian antique and satinwood-banded Display Cabinet

A George III antique Chest of two short and three long drawers, on splayed bracket feet, 105cm.

A Regency antique small Chest of three long drawers, on bracket feet, restored, 90cm.

A George III antique Chest of two short and three long drawers, on bracket feet.

A late George III antique kneehole Side Table, with three drawers, on tapered square legs.

A late George III antique and
inlaid swing- frame Dressing Table
Mirror, with three drawers, 47cm.;
three other small antique swing-frame
Toilet Mirrors and one larger, 19th
Century and later, distressed, 50cm.

A George Ill-style antique and
cross banded bow-front Side Table, with
three drawers surrounding a kneehole,
on tapered square legs eding in spade
feet, 110cm.

An Edwardian antique and satinwood-banded Display Cabinet, with a pair of geometric astragal doors above a pair of panel doors, on tapered square legs, 87cm.

A set of five late George III antique rail-back Chairs, with receded frames and stuffed seats, on fluted turned legs.

A Victorian walnut and gilt-metal mounted Coal Pudedum, with trefoil-shaped sides flanking a fluted loop handle, 31cm.; together with a brass coal scoop.

A George III antique drop-leaf Table, the rounded rectangular top on tapered legs eding in pad feet, altered and restored, 154cm.

A late George III antique Pot Cupboard, on tapered square Tags, distressed, 36cm.

An ash and elm Windsor wheel-back Armchair, early 19th Century, on sleder turned legs; together with a similar standard Windsor Chair.

A William IV antique rectangular tilt-top Occasional Table,
with a reform base, 51cm.; together with a Victorian antique tilt-top tripod Table, 50cm.

A antique and walnut tripod
Trochee, with a receded stem, 139cm.
high; together with a late George III
painted beech wood rail-back Armchair
with a cane seat, on turned legs.

A Victorian walnut miniature
Wellington Collector’s Chest, with seven
drawers, on a plinth base, 43cm.

A George III oak hanging Corner Cupboard, with a panel door enclosing a shaped shelf, 67cm.

A George Ill-style antique and string-inlaid serpentine-front Side Table, with three drawers, on tapered square legs, 65cm.     -

A William IV antique and
rosewood cross banded octagonal
drum-top Occasional Table, with a small
drawer, on a chamfered pillar with a
shaped platform base, 49cm.

An early Victorian antique scroll-ed Chaise Lounge, upholstered in pink striped brocade, on octagonal tapered legs, 175cm. long         -

A Victorian walnut and inlaid bow-front Whatnot, the four-tiers banded with Tune and with turned beech wood supports, 125cm. high.

A Regency antique combined
Writing and Dressing Table, inlaid with
ebonized stringing, the square top above
a frieze drawer fitted with pen
compartments and an adjustable mirror,
on partially receded turned legs, 48cm.

Victorian walnut Wellington Chest, George Ill-style painted break-front Pier Cabinet, 18th Century-style Continental carved beech wood Armchair

A late Victorian walnut Wellington Chest of seven drawers flanked by hinged pilasters, 59cm.

A late George III antique and kingwood cross banded semi-circular Card Table, inlaid with stringing, on tapered square legs, restored, 91cm.

A Regency-style antique and cross banded small bow-front Chest of three long drawers, on bracket feet, 87cm.

An Art Deco mirror-glass mounted Cocktail Cabinet, the applied copper tinted and smoked glass bandings decorated with etched designs, the pair of doors revealing a burr maple

veneered fitted interior, on block supports, 110cm.

A large maple pedestal Desk, the shaped leather inset top above an arrangement of seven drawers, on carved cabriole legs, 183cm.; together with a small bow-front Cabinet en

suite, with an open recess above a pair of doors and cabriole legs, 61cm.
A Louis XVI-style carved gilt wood Jardiniere, with a metal liner, the pairs of fluted turned supports united by a reform under tier, on scroll feet, 66cm.

Two cream painted and parcel-gilt triptych Dressing Table Mirrors, with ornate carved surrounds; together with three beveled and etched glass triptych Dressing Table Mirrors.

A Victorian ebonized and
mother-of-pearl inlaid Occasional Chair,
the shaped papier-mache splat with
decoration, the caned seat on
cabriole legs.

A Victorian walnut small Bookcase,
enclosed by a pair of glazed panel doors,
on a plinth base with bun feet, 91cm.

A pair of late George III antique
‘D’-shaped Table Eds, with receded
borders, on ring turned legs, 92cm.

An early Victorian rectangular antique Occasional Table, now with a reduced chamfered stem, on a shaped platform base, 70cm.

A antique Collector’s Cabinet, with two columns of seven drawers, on a plinth base.

A George Ill-style painted break-front Pier Cabinet, with bowed sides, the diaper decorated frieze above three panel doors divided by simulated fluted pilasters, 158cm.;

together with a ‘D’-ed pedestal Dining Table en suite, with a spare leaf, the simulated marble top on twin turned supports and splayed legs, cm.

An Italian carved gilt wood and
green painted Bedroom Suite in
rococo-style, comprising: a Double Bed
Frame, decorated with reserved
cartouches depicting floral sprays and
cherubs, 194cm., a pair of
serpentine Console Tables, one with a
marble top, 67cm., a marble top low
serpentine Occasional Table, on
cabriole legs, 64cm., a serpentine
Stool, on cabriole legs, a Berger and a
Dressing Table, the serpentine marble
top above three drawers, 132cm.

A pair of carved and gilt painted
Console Brackets, 77cm. high; together
with a Florentine carved wildwood
rectangular Wall Mirror, with an ornate
foliate pierced frame, 70 by 86cm.

A George III antique Wing Armchair, upholstered in pale-blue fabric, on chamfered square legs joined by stretchers.

A George Ill-style antique standing Corner Cupboard in two sections, the crenellated cornice above two pairs of fielded panel doors, on bracket feet, 198cm. nigh by 103cm.

An 18th Century-style Continental
carved beech wood Armchair, with a
pierced splat, on carved cabriole legs.

A red lacquer Side
Cabinet, with gilt painted decoration
depicting Oriental scenes, the central
bowed cupboard door above four
cabriole legs, 96cm.

A three-piece black lacquer
Berger Suite, with double
carved backs and sides and loose yellow
damask cushions, on carved cabriole legs
with claw and ball feet, comprising: a
Settee and a pair of Armchairs.

A black lacquer tub-shaped Berger, with decoration similar to the previous lot, on square legs    .

A nest of three black lacquer  Occasional Tables, with bowed tops, on sleder turned legs and splayed feet, 54cm.

George IV mahogany Chest, Victorian walnut combined Games and Work Table, gilt-gesso Table in the style of William Kent, 19th Century

A mahogany Armchair, the back and seat upholstered in nailed buttoned tan hide, on-Square legs.

A Victorian walnut combined Games and Work Table, the hinged top with chessboard inlay above a divided interior with
a fabric wet knurled and carved supports and quadruple cabriole legs, 68cm.

An Edwardian mahogany inlaid and
satinwood banded Writing Desk, fitted with
two small drawers above the bowed angled fall
enclosing a leather writing surface and three
small drawers, below is a frieze drawer, on
tapered square legs joined by stretchers, 75cm.

A mahogany cylinder-top Writing
Desk, early 19th Century, with three short
drawers above the cylinder fall revealing
drawers and compartments, with a writing
slope, above three long drawers, on block feet,
faults, 127cm. high by 124cm.

A mahogany Davenport, the hinged leather tooled writing slope revealing four short drawers above a pedestal of four drawers, on spiral twist supports on castors, restored, 53cm.

A George Ill-style mahogany bow-front Sideboard, fitted with an arrangement of five drawers, on tapered square legs, 106cm.

A William IV mahogany rail-back Armchair, the scrolled arms above a solid seat, on turned legs.
An ebonized two-fold Screen, late 19th Century, each glazed panel with painted and fabric figures, 78cm.

An oak Single Bed, late 17th Century, made-up, with a paneled headboard, 92cm.

A Regency satinwood Tea Caddy of sarcophagus form, the interior with two lidded compartments and a later circular cover, on turned feet, 35cm.

A Victorian walnut and brass-bound Work Box, with a divided interior including a mirror, 30cm.

A Victorian rosewood and brass inlaid Writing Box, 43cm. wide    ?200-300
584    A Victorian coriander Decanter Box, the interior with four divisions, lacking fittings, 24cm.

A reproduction small metal Chest, of riveted construction, 30cm.

A mahogany Tea Caddy, late 18th Century, the hinged top revealing a lidded compartment and a glass bowl, 23cm.

A burr walnut rectangular Work Box,
19th Century, the hinged lid opening to reveal
a fitted inner shelf, on compressed bun feet.

A George III yew-wood and satinwood
sarcophagus-shaped Tea Caddy, with
twin-lidded interior.

A George III tortoiseshell veneered Tea Caddy, with twin-lidded interior, on ivory compressed bun feet.

A turned yew and sycamore Wool Cat, 19th Century, with six opposing reel and bobbin legs, faults; together with another fruitwood Wool Cat, two legs replaced.

A George III mahogany drop-leaf
Table, on chamfered square legs, 118cm. when
open; together with a Victorian mahogany and
inlaid rectangular Wall Mirror, 71cm.

A George III mahogany bow-front
Chest, of two short and three long graduated
drawers, on splayed bracket feet, 106cm.

A set of eight George Ill-style
mahogany Dining Chairs, the pierced
shield-shaped backs above stuff-over seats
upholstered in nailed black fabric, on square
tapering legs.

A Japanese carved hardwood Display Cabinet on Stand, with asymmetrical shelves and cupboards enclosed by blue lacquer and ivory molded panels, on scroll base, 110cm.

A George IV mahogany Chest, of two short and three long graduated drawers, on turned feet, 105cm.

A Victorian mahogany bow-front Chest, of two short and three long graduated drawers above a shaped apron, on turned feet, 120cm.

A gilt-gesso Table in the style of William Kent, 19th Century, with a green veined marble top above a crenellated frieze and foliate festoons, on square legs and scroll feet,

some moldings detached, 120cm.

A George Ill-style mahogany and
parcel-gilt fretwork Wall Mirror, with an
eagle surmount and an inlaid oval shell
medallion, 70cm.

A late Victorian mahogany pedestal
Partners’ Desk, the leather inset top above an
arrangement of eighteen drawers, on plinth
bases, 183cm.

A pair of Victorian Wall Mirrors, with
painted beveled panels, 53cm.

A Victorian rosewood and inlaid
Display Pedestal, of tapering square form,
with beveled glazed panels, on a plinth base,
33cm.

A French mahogany inlaid and gilt-metal-mounted Etagere, late 19th Century, the two circular mirrored tiers above cabriole legs, 51cm.

A French mahogany and gilt-metal-mounted narrow Virile, late 19th Century, with ‘Sevres’-style porcelain plaque, on splayed legs with sabots, 45cm.

An early Victorian rosewood Reading Table, the rectangular top fitted with opposing adjustable angled stands, on a single baluster turned support and shaped platform base with

brass castors, 91cm.

A set of four gilt painted two-branch Wall Lights, of scrolled acanthus form.

A Victorian mahogany Dining Table,
the rounded rectangular top now in four parts,
faults, 105cm.

A 17th Century-style walnut Cabinet-
on-Stand, with a pair of astragal doors
enclosing adjustable shelves, on spiral turned
supports and stretchers, on turned feet, 198cm.
high by 135cm.

A pair of large wooden-framed
rectangular Windows, the panels divided into
a radiating fan, 27cm. high by 246cm.

Victorian walnut Nursing Chair,  Victorian rosewood Card Table, reproduction mahogany Pembroke Table, mahogany Library Armchairs

A George Ill-style mahogany
Jerk front Bookcase, the blind fret carved
pediment above shelves enclosed by four
astragal glazed with two short
and one long  drawers and three
cupboards closed by four panel doors, on a
plinth base, 191cm.

A George Ill-style mahogany breakfront
Bookcase, the molded pediment above
shelves enclosed by four beaded glazed doors,
the base with three cupboards enclosed by four
panel doors, on a plinth, 330cm.

A George III mahogany bow-fronted Chest, of two short and three long drawers, on bracket feet, 103cm.

A Victorian rosewood Card Table, the rectangular fold-over swivel top on an octagonal tapered pillar and concave-sided platform base with bun feet, 92cm.

A Victorian mahogany Side Table, the
rectangular top above two frieze drawers, on
slender turned legs, 95cm.

A George III mahogany Pembroke
Table, the rectangular top with two fall leaves
above an end drawer, on square tapered legs
and brass castors, 60cm.

An Edwardian rosewood and inlaid
Display Cabinet, the two shelves enclosed by a
pair of glazed doors between side shelves and
mirror panels, the base with a shelf and central
cupboard enclosed by a panel door between
two cupboards and enclosed by a glazed door,
on turned feet, 137cm.

A reproduction mahogany Pembroke Table, the oval top with two fall leaves above an end drawer, on square tapered legs, 69cm.

A pair of George Ill-style mahogany Library Armchairs, the backs and seats upholstered in deep buttoned red leather, on square chamfered legs .

A Victorian walnut Occasional Table, the later shaped top supported on twin columns and splayed feet joined by a stretcher, 106cm.

A pair of gesso Wall Mirrors, the beveled glasses in rectangular ribbed frames, 44 by 35cm.

A Victorian walnut Nursing Chair, the
back and seat upholstered in magnolia dragon, on dwarf cabriole legs and scroll feet.

A George II mahogany fret framed Wall Mirror, faults, 65cm.

An oak hanging corner Cupboard,
enclosed by a door, 61cm. wide; together with a George IV carved mahogany Hall Chair; and a 17th Century-style oak Bench, 86cm.

An oak and walnut Side Table, 18th Century, with a later top above a frieze drawer, on tapered legs with pad feet, faults, 74cm.

A walnut Jardiniere Stand, 19th Century, the thick quadruple banded top on four cabriole legs joined by stretchers, 62cm.

A Louis XV-style carved and parcel-gilt Wing Armchair, late 19th Century, with distressed brocade upholstery, on cabriole legs.

A carved gilt and painted wood Wall
Mirror, of oval form, decorated with a myriad
of classical figures amongst fruit and scrolls,
61cm.

A Victorian mahogany Cheval Mirror,
the rectangular plate with rounded frame, on twin scroll supports, on castors, 147cm.

A cream painted oval Dining Table, on
triple lion pillar supports joined by a stretcher,
170cm.

A George III mahogany circular flip-top Table, on vase pillar support with triple cabriole legs, 86cm.

Flemish oak Refectory Table,  Louis XV-style tulipwood gilt- metal mounted Bijouterie Cabinet, Dutch marquetry and mahogany ‘X’-frame Armchair

A Flemish oak Refectory Table,
circa, the rectangular top on four
square baluster supports joined by
stretchers.

A Flemish walnut Mirror,
the rectangular ripple moulded
surround with later plate.

A Spanish walnut Armchair, made-
up, the back with fluted uprights, scroll
arms, stuffed seat and fluted legs joined by
a solid stretcher, carved with a shield and
leafy flowerhead.

A Louis XV-style tulipwood gilt-
metal mounted Bijouterie Cabinet,
inlaid throughout with stringing, the
upper part enclosed by a pair of sliding
opposed panels, the base on cabriole legs
ending in sabots

A Flemish carved walnut and upholstered Armchair, circa, the
rectangular back and seat with distressed needlework cover, with acanthus carved overscroll arms, the square and turned legs joined by an ‘H’-shaped stretcher.

A French rosewood and marquetry
Table Ambulante, circa, inlaid with
Chinoiserie scenes, the oval top above
three drawers, on cabriole legs with a
kidney-shaped undertier.

An Italian carved and gilt fluted
gesso corner Console Table, circa,
with a chamfered red marble top above triple scroll brackets, on a rectangular support with female mask capital.

A French Empire Fauteuil
with nailed hide upholstery, the leaf
moulded and reeded arms above sabre
legs with palmette and paterae carved
facings.

A Dutch marquetry and mahogany
‘X’-frame Armchair, circa, the
shield-shaped back and seat covered in
gold dralon, the arms with pierced vase-
shaped splats.

A pair of Italian gilt-gesso small
Wall Mirrors, 18th Century, with foliate
carved surrounds, later plates, together with a similar larger
Mirror, 18th Century.

A walnut parquetry serpentine
Commode, circa, the grey marble
top above three long drawers with rococo
gilt-metal handles and escutcheons, on
bracket feet, possibly German.

A Dutch Colonial ebonised and carved Side Chair, circa, the pierced asymmetrical cresting above a pierced foliate splat, the drop-in seat on cabriole legs with shell carved

knees.

A French Empire mahogany Fauteuil, circa, with a rectangular upholstered back and bowed seat, on ring turned tapering legs surmounted by foliate carved capitals and ball

finials.

A Restauration mahogany Centre
Table, circa, the circular marble top
above triple columnar supports and united
by a concave-sided platform stretcher.

A Directoire mahogany Table, circa, the circular top with a frieze drawer above tapered square legs.

An Italian painted and caned Armchair, circa, the serpentine seat on cabriole legs with scroll feet.

An Empire mahogany Pier Mirror,
circa, the moulded cornice above a
gilt-metal mounted frieze and a painted oil
on canvas panel depicting a contemporary
family scene, below is a rectangular mirror
and plate.

A Louis XVI kingwood parquetry
Bouillotte Table, circa, the brass
galleried top with opposing frieze drawers,
on tapered square legs ending in brass
spade feet.

A Restauration mahogany Wall
Mirror, circa, the moulded cornice
above a black and gilt verre eglomise frieze,
the rectangular plate flanked by columnar
pilasters.

A Louise Philippe mahogany Dressing Chest, circa, the raised mirror back with octagonal supports above a serpentine drawer with lidded compartments, the conforming projecting

base with three long drawers flanked by columnar mouldings headed by foliate corbels, on gadrooned feet.

English, French and Italian Toilet Mirrors

The antique toilet mirror, or dressing glass was introduced in England after 1700 and was fairly rare up to about 1740. Early examples, like that shown above, had a shaped mirror similar to wall mirrors, frequently with a gilt edging around the bevelled glass. The uprights could be turned or straight and the mirror could be tilted by a screw action. Under the mirror was either a shaped box made of deal and veneered in walnut, with tiered small drawers, or a miniature bureau with a fall, also veneered in walnut or possibly of a jappaned type like that above of c.1710 date. They are very charming miniature pieces with all the characteristics of larger furniture as far as mouldings, matched veneers and shaping is concerned. Price Range: Japanned and Walnut.
A mahogany French toilet mirror of c.1750 with a rectangular mirror, having a shaped moulding  or inward point  at the top corners similar to wall mirrors of the period. The supports are straight and tapering with turned finials at the top and there is a gilt surround to the glass. The top of the base shows an ovolo edge moulding and the drawer fronts are concave. The whole mirror stands on ogee bracket feet. Note that the key plate of the centre drawer is a replacement but that there is no pull, whereas the outer drawers each have a small pull or drop handle. This is a normal characteristic of these toilet mirrors. Usually the base box is made of pine with mahogany veneer on the outer surfaces.
When there is no box of drawers beneath the English toilet mirror, it is known as a cheval glass, as above. This example of c.1750 again has straight tapering uprights with turned brass finials at the top. Note that the mirror’s top corners are a simple curve in this case, without the inward point of the preceding example and that there is no gilt edging.
A plain Italian rectangular mahogany cheval glass of c.1780 veneered across the mirror frame with a boxwood stringing line around it. The square tapering uprights have no finials and it is probable that these were originally  fitted and have been lost. Good reproduction replacements are easily obtained. Where the uprights are square, the cross stretcher on the base, between them, also follows this shape.
An oval mahogany ‘Hepplewhite’ toilet mirror of a type which, with the shield back, has been much reproduced. This one is of c.1785 date and has a mirror frame faced with cross-banded mahogany. The box stand is veneered in figured mahogany and has a serpentine front as well as cross banding around the top. The feet are of the ogee bracket type. The drawers are edged with boxwood stringing and the inset keyhole and outer drawer knobs are ivory. The drawer linings are thin oak. This shape and the shield shape, deriving from chair back shapes of the period, are the most popular of late Georgian toilet mirror purchasers
Serpentine front
Figured woods and inlays
A rectangular French mahogany toilet mirror of c.1780 with reeded uprights ending in turned finials. The mirror frame is cross-banded with mahogany veneer and has a boxwood stringing line inlaid around the edge. The front of the box is slightly bowed and has the same boxwood stringing line around it, as have the drawers. The bracket feet are of a fairly sophisticated shape associated with the later eighteenth century.
A later Georgian mahogany toilet mirror of c.1810 with turned uprights to the rectangular mirror. The turning shows the double-beaded or `bamboo-ed’ effect beloved to the period. The front is bowed in a later shape from that originally introduced c.1780 and the ivory inlaid keyhole has been replaced later, due to damage, by another wood. Although the box carcase remains deal, the drawer linings are mahogany of a plain grain.
The veneers are highly figured and there is a dark stringing line around the drawers and top edge. The frame is again cross-veneered in mahogany and the mirror stands on ball feet.
Value points: Figured woods and inlays
N.B. It is interesting to note that turned uprights are not popular in the trade. Many a quick transition to square uprights has been made in order to enhance price.

MIRRORS  wall, and pier glasses
The wall mirrors of the walnut period were mounted in a rectangular frame of deal, with a convex section which was veneered in walnut and embellished with parquetry or marquetry if required.
With the influence of architects (and particularly William Kent) on furnishings in the 1715-1740 period, the wall mirror became the object of architectural treatment. There were essentially two sorts of mirrors in a room  an overmantel mirror above the fireplace, and pier glasses on the pier walls between windows, hung over pier tables. The overmantels tended to be given the full treatment  pediments, etc. etc., and are rather outside the scope of the normal collector. However the narrow pier glasses can be used in the modern house and are quite charming.
The original Vauxhall glass was rather thin and had a very shallow bevel. Where the glass was very long it had to be made in two pieces. Gesso was often used for the gilt versions and was useful for less important
frames where the cost of carving was high.
From about 1745 a lighter form was used in rather rococo style and the Adam and Chippendale designs reflect this. Later on the convex mirror became popular with its gilt balls and surmounting eagle.
At the turn of the eighteenth century mirror decoration was rather French Empire in style  neo-classical. As the century progressed, manufacturers made large overmantels and smaller girandoles in plaster which
emulated rococo or exuberant French styles.
Value Points:
Carved wood frame
Original glass in good/fair condition
Original gilding
Condition of plaster or gesso  frames are expensive to repair.
A walnut cushion’ mirror with convex frame inlaid with seaweed marquetry. The mouldings are in cross-grained walnut and there is a large cresting with a fret-cut border of seaweed type enclosing a panel of
more marquetry. The glass looks like a replacement. The cresting is often missing, in which case the price is less than half. 1680-1700
A pier glass in gilt with the shallow bevel of the original Vauxhall glass clearly evident.
More architectural pier glass with broken pediment, made in two pieces of bevelled glass. The frame is gilt.
1700-1720

A wall mirror in a carved gilt frame, in the rococo style. 1740-1750

Still very
architectural  gilt frame similar to designs of William Jones in 1739.
Heavy architectural pier glass in the William Kent manner.
A carved and gilt gesso glass with Prince of Wales feathers decoration above and shell below.
A mahogany framed mirror with fret-cut cresting and baseboards.
A mahogany and gilt frame with carved pediments.
1740-1750
A mahogany and gilt mirror which shows the transition from the grandness of 565 to the relative simplicity of 567. The carved and gilded basket of flowers, together with flower and leaf down the sides, add to value.
c. 1745
A Chinese rococo mirror in the Chippendale manner. The larger sizes are more valuable.
1750-1760
A rococo Chippendale oval giltwood mirror with foliage, C scrolls and urns. Again size important.
A convex gilt mirror surmounted by an eagle, of a type reproduced for over one hundred years.
1790-1820

An unusual mantel mirror in the Chinese rococo manner with scroll, leaf, branch and ornithological decoration  birds were always popular.
c. 1760
An oval gilt wall mirror surmounted by a vase and scroll pediment.
A nineteenth century mirror with pillar decoration.
Early 19th century
A nineteenth century pier glass with an eagle surmounting it and copious decoration  two female busts, two birds, flowers, scrolls and acanthus leaves. In the style of Thomas Johnson (1760) but a later
reproduction.

MIRRORS  toilet
This form of mirror was introduced into Britain from the Low Countries in Queen Anne’s reign. The lower section was a miniature replica of a bureau. The mirror which was often of cushion shape was supported
between two uprights. Usually in walnut or japanned.
Value Points: Complexity of bureau part.
Shaped fronts.
Figured woods and inlays.
Original glass with bevelled edge.
A walnut toilet mirror with deep cross-grained moulding supporting the glass. A pretty little interior with stepped drawers (see Bureaux section). By no means the most complicated fittings but a good piece. c.1710
A walnut toilet mirror with concave-fronted drawers and inlaid stringing lines. The tapering supports are veneered and have acorn finials. The handles and keyplates are original. c. 1715
A serpentine- fronted walnut mirror with bevelled glass and one replacement (Victorian) finial on the upright. The drawers have an inlaid ebony and boxwood stringing line. 1730-1740
A mahogany toilet mirror, missing one finial, with a gilt surround. The top corners of the moulding have inward points. The handles and keyplates are replacements. The key serves as the pull for the centre drawer.
A ‘Hepplewhite’ toilet mirror with oval glass, edged in ebony and boxwood stringing. The front is serpentine, and the outer drawers have replacement pulls, but the centre drawer still has inset brass keyhole and
key. 1770-1800
A Sheraton bow fronted example. White inlay on the edges of the drawers and top, the supports reeded. The ivory keyplate is missing. The small bracket feet are a pleasant minor detail.
The paws, the heavy decoration on the uprights and the top scroll all point to late Regency. The mirror is landscape shape rather than the portrait shape of Queen Anne’s days. c. 1820

Late XVIII Century Mirrors

Nowhere was the influence of Rococo style stronger than in mirror design. It was difficult to produce big sheets of glass, so large mirrors were often made of several pieces of glass. 18th-century glass tends to be thin with shallow bevels. Many pattern books were published at the time, and as a result many pieces show influences from other countries.
in the early part of the century, mirror frames were usually made of carved gilt or silvered gesso on a wooden base, and then walnut wads used with giltwood until the start of the Rococo period, when carved giltwood and mahogany took over. Costly materials such as coloured and etched glass, were sometimes included. Candelabra were often attached to the base of frames (known as girandoles) to reflect light into dark rooms and cast dancing shadows on the walls.
Frames were made from softwoods such as pine and fruitwoods. making it possible to carve cure es. scalloped shells, and ornate cartoucines with relative ease. The joints where gessoed and painted with gold or silver leaf.
Popular motifs included acanthus leaves, egg-and-dart moulding. and cresting, often depicting birds with outstretched wings. Bird motifs  were popular in America. It is difficult to distinguish American mirrors from the English ones that were imported in large quantities, partly because the American and European species of spruce, which were often used in the frames, are ver similar.
The crest displays the crown of the original owner.
Gilded Classical figures flank
Decorative motifs are etched onto the reverse side of coloured glass,
Giltwood detailing conceals the joins between the glass.
PIER MIRROR
This elegant mirror would have been placed above a pier table and was probably one of a pair. Pier mirrors were designed to hang between the windows in a drawing room. As it was difficult to manufacture large mirrors, two plates of glass are joined by a gilt wooden frame. The cobalt-blue etched glass inserts
were designed to glow in candlelight where the design is etched on the back of the glass. Classical forms were fashionable, as seen by the trumpet-bearing maidens on the top of the mirror. Frames were more influenced by fashion than larger items of furniture, so they are good indicators of contemporary styles. c.1735.
ENGLISH PIER GLASS MIRROR
This mirror is a fine example of the Palladian style. with a central mask set into the crest. Decorated with carved and gilded gesso, this pier glass is a rare find because it still retains the original candle arms, which are often missing from pieces of this period. c.1720.
MIRROR WITH PAINTED FRAME
This highly coloured Venetian mirror frame is reminiscent of Italian painted furniture of the time, but it also has elements of Louis XV style in the scrolled feet and curvaceous frame.
The frame is painted and has highlights picked out in gilt. c.1760.
GERMAN MIRROR
This south German wall mirror frame is made of carved and gilded wood. The foliate carving winds around the frame to make a curvaceous rectangular shape. The crown and pendant are typical of the asymmetrical Rococo style.
Mid 18th century.
ENGLISH MIRROR
One of a pair, this walnut mirror features a gilt carved phoenix flanked by a broken pediment terminating in carved and gilt foliage. The birds on the crests of the two mirrors face in different directions, indicating that the mirrors were originally placed next to each other c.1740.
GERMAN MIRROR
In the early 18th century, Germans continued to favour designs that were no longer fashionable in France or England. The pelmet in the cresting and the heavy design features are similar to late 17th-century styles, but the scrolling foliage decoration is typical of the Rococo style.
c.1750.
ENGLISH CARTOUCHE MIRROR
This cartouche-shaped mirror is a good example of the English interpretation of Rococo. C-scrolls and curved foliage were very popular motifs in all Rococo pieces, but the carving of this mirror frame is less ornate than that on French pieces of the period. c.1760.
ITALIAN GIRANDOLE MIRROR
This Italian late Rococo mirror is strikingly similar to English and French designs of the time. It is made of carved and gilded soft wood. A candle holder is positioned at the base of the glass. Mirrors incorporating candle holders, girandoles, were popular in the Rococo period. c. 1770.
ENGLISH GEORGE II MIRROR
This bevelled mirror frame is made of carved giltwood and red lacquer. The pierced giltwood frame is carved at the top with scrolling foliate cresting, flanked by two bird’s heads. The frame is decorated with birds, flowers, acanthus leaves, strapwork; and a cartouche at the base.
ITALIAN OVERMANTEL MIRROR
This large mirror uses many different sizes of plate in the frame. The joints are disguised by carved, gilt fillets across the larger pane of glass and scroll elements along the sides. Many smaller pieces of glass alongside the main mirror reflect additional light. c.1750.
AMERICAN CHIPPENDALE MIRROR
This mirror is a fine example of Chippendale style. Made of highly polished mahogany, it lacks the gilt decoration of many pieces of the period. The interior of the frame surrounding the glass is double moulded and both the crest and base are serpentine shaped with delicate ears. Mid 18th cootory.
AMERICAN CHIPPENDALE MIRROR
This mirror frame in the Chippendale style is made of walnut with parcel gilding. The crest is decorated with a foliate design. It is attributed to John Elliott of Philadelphia, who both made and imported mirror frames. Many British Chippendale-style frames were exported to the colonies at this time.
ENGLISH CHIPPENDALE MIRROR
Mirrors of this design, often without a gilt bevel surrounding the plate, were exported in large numbers from England, spreading the Chippendale style. This frame is made of pine veneered in walnut and parcel gilt. The candle holders are decorated with leaf motifs. c.1750.

Early XVIII Century mirrors

At the end of the 17th century, a mirror about 1m x 90cm (40in x 36in) would have cost the equivalent of 20,000 in today’s currency. The earliest mirrors were handheld, but by the 18th century, the mirror had become an essential part of the fashionable home.
ENGLISH GILDED EASEL MIRROR
This mirror was designed to be placed on a table. Mirror backs were often covered with softwood, to protect the glass and metal from being oxidised by the light. c.1725.
A BRIEF HISTORY OF MIRROR IN EUROPE
Mirrors have been used for thousands of years. They were believed to foretell the future and to bring bad luck, especially when broken. Many people thought that to see your reflection was to see your soul, and for years the Church was against the use of mirrors.
The earliest known mirror was made of bronze, and ancient civilizations also used silver, gold, tin, steel, obsidian (volcanic glass), and rock crystal. Curved glass mirrors, made by cutting a sphere in two, were produced during the Middle Ages, but it was not until the 15th century that it was possible to create flat, colourless glass, known as “crystallo”. This technique created relatively small pieces of glass.
VENETIAN GLASSMAKERS MAKING MIRRORS
Crystallo, or crystalline glass, and blown glass were developed in Venice. The Venetian workshops were the only places producing glass mirrors before the mid 17th century The commercial importance of this discovery prompted the Venetian authorities to forbid glassmakers to move from their headquarters on the island of Murano on pain of death.
Foliage motifs
DEVELOPMENTS OF MIRRORS IN EUROPE
Although some Venetian glassmakers were seduced into setting up workshops, principally in Germany and the Low Countries, it was not until around 1663 that Murano’s supremacy was challenged. Louis XIV of France established a glassworks at Tourlaville, while in England, a glassworks was set up at Vauxhall to produce mirrors for the court of Charles II.
At the end of the 17th century, Bernard Perrot, working at Tourlaville, developed the casting method, which made it possible to create larger sheets of glass.
The glass was translucent but not transparent, as minerals in the sand affected the result. Artisans cut, ground, engraved, polished, and silvered the glass, using mercury to produce a reflective surface. In 1835, real silver was used for the first time, relieving the makers of the hazards of mercury poisoning.
Female masks
Marble fire surround
GEORGE II CHIMNEY PIECE MIRROR
This giltwood mirror, attributed to Matthias Lock, has
an elaborately carved frame with Rococo details of fruit,
leaves, birds, scrolls, and Chinoiserie elements. c 1755.
CHANGING FASHIONS
The production of larger sheets of glass enabled mirrors to become the focal point of the room, and to reflect light around what were previously very dark homes. The Salle des Glaces at the Palace of Versailles (see p.34) must have made a powerful
impact on those who had never seen anything other than a small hand mirror.
In England, 1700-40 marked a golden age of mirror production while the 20 per cent tax on mirrors was temporarily abolished. Large mirrors were designed to be placed over the mantelpiece, and long pier glasses were made, often in pairs, to fit between windows in grand houses. Fashionable country homes were furnished with fine mirrors. In 1703, John Gumley produced 3m-high (10ft) mirrors decorated with blue glass for Chatsworth.
From about 1725, English design was inspired by Palladian architecture (see p.96), often mirroring architectural details of the house in the frame. Oval mirrors were also very popular.
FRAME DESIGN
Due to their size and the versatility of frame carving, mirrors were among the first household objects to reflect fashion. At the turn of the 18th century, lacquer panels or japanning were sought after. Later, fashion favoured elaborately carved Rococo frames, including asymmetrical mirrors with Chinoiserie, C-scrolls, and foliage.
KEY DATES
20th century BC: Hand-held polished bronze mirror. 6th century: Etruscan hand mirror.
1291: Venetian Republic requires glassworkers to move to the island of Murano.
1448: Term “crystalline glass” appears in the inventory of Rene d’Anjou.
1571-92: Venetian craftsman, Jacopo Verzelini, sets up glassworks in the City of London.
1612: L’Arte Vietraria, by Antonio Neri, about the processes of glassmaking, published in Florence.
1618: Sir Robert Mansell obtains patent to set up a London glasshouse employing Venetian glassmakers.
1665: Nicholas du Noyer sets up a glass house employing 200 workers in Paris.
C.1670: Bernard Perrot invents casting technique, making it possible to create larger sheets of glass.
1676: George Ravenscroft invents lead crystal glass by adding lead oxide to glass.
1678: Patent granted to John Roberts’ “invention of grinding, polishing and diamonding glass plates for looking glasses… by the motion of water and wheels.”
1719: Real Fabrica de Coina, probably Portugal’s first mirror factory, established by John Beare.
MIRROR BOX
This stunning box mirror has a number of
architectural elements, including the broken
pediment and the two marble columns flanking
the mirror plate. The piece is inlaid with
precious stones. This mirror was once owned
by Marie de Medici.
CARVED, GILDED GIRANDOLE
This is one of a pair of fine giltwood girandoles after a design by Thomas Johnson, published in 1758. The gilding and candles helped to reflect more light around a room. c,1760.
VENETIAN OVAL MIRROR
This oval-shaped glass is typical of Italian design and uses etched and applied glass to frame the central oval mirror. Its Venetian origin would have made it highly covetable. Whole teams of artisans were needed to create mirrors like this.